A critic is a reader who ruminates. Thus, he should have more than one stomach.
It's funny: I like being surprised as a reader, so it's difficult for me to spoil my own stuff.
If you write in category, you write knowing there's a framework, there are reader expectations.
I'm a professional non-fiction reader, that's what I do. But in my 20s we had our own vampire and witch moment, courtesy of Anne Rice, whose books I read and loved.
Naturally, the reader has access only to the events I show and the way I show them, but as has been said, there's generally a good deal of ambiguity in that presentation.
I have great faith in the intelligence of the American viewer and reader to put two and two together and come up with four.
I wanted to create a heroine that was flawed. I wanted her to be a real person. She's selfish, she's childish, she's immature and because I'm doing a three-book arc I really played that up in the first book. I wanted the reader to be annoyed with her at times.
I'd like 'Rookie' to be a helpful resource, but I never want it to be too prescriptive. Hopefully, it also makes the reader feel encouraged to think for herself.
I used to be a rabid reader, but now it's scripts or nothing - network television is quite relentless, and you can't drop the ball.
I try to write in plain brown blocks of American speech but occasionally set in an ancient word or a strange word just to startle the reader a little bit and to break up the monotony of the plain American cadence.
Who is the ideal reader? God only knows.
I think throughout the 20th century, for some reason, serious writers increasingly had contempt for the average reader. You can really see this in the letters of such people as Joyce and Virginia Woolf.
The relationship between reader and characters is very difficult. It is even more peculiar than the relationship between the writer and his characters.
I think of novels as houses. You live in them over the course of a long period, both as a reader and as a writer.
The reader deserves an honest opinion. If he doesn't deserve it, give it to him anyhow.
I'm a slow reader.
I had started off, before I ever got an acting job, working at Robert De Niro's Tribeca Productions as a reader. I was always interested in that side of the camera.
The one thing you have to do if you write a book is put yourself in someone else's shoes. The reader's shoes. You've got to entertain them.
No poem is easily grasped; so why should any reader expect fast results?
But I care about the reader, and I'm trying to keep the reader's attention for as long as I can.
The Architect is just one of a series of works which examine the confrontation of innocence and experience, illustrating the complex ethics of power that exist between reader and writer, critic and artist, the human and the divine.
I read Popular Mechanics, Popular Science, Reader's Digest... I read some responsible journalism, and from that, I form my own opinions. I also happen to be intelligent, and I question everything.
Poetry is my cheap means of transportation. By the end of the poem the reader should be in a different place from where he started. I would like him to be slightly disoriented at the end, like I drove him outside of town at night and dropped him off in a cornfield.
Anybody who claims to read the entire paper every day is either the world's fastest reader or the world's biggest liar.
Poetry and prose are of equal importance to me as a reader, and there doesn't seem to be much difference in my own writing.
Reader was by far the most popular feed reader out there, and its user base had been in a steep decline for two years before Google decided to shut it down.
Yes, I, well, when I write, as often as I can, I try to write as if I'm talking to people. It doesn't always work, and one shouldn't always try it, but I try and write as if I am talking, and trying to engage the reader in conversation.
A blurb might bring a reader to a book, but then the book itself has to do the rest of the work.
It's always hard when you're playing someone for a lot of people out there who are going to see the movie after reading the books. There's a communion between a reader and the writer, so people will have an idea who Sirius Black is and I might not be everyone's idea of that.
I'm lucky enough to have two different platforms to perform on - I do stand-up comedy, and I have 'SNL.' That's where I make my most controversial statements because I can explain myself and I'm in control of the microphone, as opposed to Twitter, where it's in the hands of the reader.
Though he was not a reader himself, my father understood that reading is not just an escape. It is access to a better way of life.
The funny thing is, I'm not really a big reader, not a big fan of books in the first place.
For John le Carre, it was always who's betraying who: the hall-of-mirrors kind of thing. When you go back to the '30s, it's a case of good vs. evil, and no kidding. When I have a hero who believes France and Britain are on the right side, a reader is not going to question that.
One of the strategies for doing first-person is to make the narrator very knowing, so that the reader is with somebody who has a take on everything they observe.
From the reader's view, a poem is more demanding than prose.
I'm a voracious reader. I want information, all kinds - Internet, books, magazines.
